Santiago Calatrava launched his first U.S. commission in 2001, the Quadracci Pavilion at the Milwaukee Art Museum. The 142,050-square-foot visitor desk was located on the side of the building, but after the work was completed, the institution’s then-leaders decided to move the desk, also designed by Calatrava, to Windover Hall.
With soaring ceilings and curved walls of windows overlooking Lake Michigan, as well as 90-foot-high glass ceilings, the institution’s immersive addition is an artwork as noteworthy as any in the museum’s permanent collection, including Claude · Works by Monet, Winslow Homer, Georgia O’Keeffe, Andy Warhol and Camille Pissarro. The Milwaukee Art Museum (commonly known as MAM) also houses one of the world’s largest collections of folk and self-taught art, as well as a collection of Haitian art.
Unfortunately, the change, intended to centralize Calatrava’s design centre, caused visual clutter – especially on busy days, when queues formed at the visitor’s desk. Stepping into this institution, far from inspiring wonder, often inspires frustration.
Twenty-two years later, the museum’s chief experience officer, Scott Schwebel, had a great idea: Why not move the table back to where Calatrava originally intended it, tucked away in the gallery space ? In this way, he told the Observer, “When you walk into this magnificent cathedral space, you have an unobstructed experience and are immediately struck by awe and majesty.”
Schwebel’s role is unique. He was responsible for making the museum more attractive and attracting new visitors, especially those unfamiliar with museum culture—a demographic that Schwebel himself once included.
“I didn’t come out of the museum world; I came out of the museum world.” I’m not an academic. Returning the tables is part of a larger strategy I’m bringing to the museum about hospitality,” he explains. “One of the classic pillars of hospitality is ‘We see you first, we greet you, we make eye contact, we welcome you, we disarm you, we let you know we are here.'”
According to Schwebel, the Milwaukee Art Museum attracts many first-time visitors. “There’s anxiety, right? They don’t know how to act, where to go, what to do. His goal was to create a museum experience where visitors’ first contact is with a human being and they feel welcome.”
Putting this philosophy into practice, MAM staff now greet guests as they enter—long before they reach the service desk. The effect is both pleasing and practical. Greeters direct visitors to the service desk or help them buy tickets online, and direct them to the museum’s café, restrooms or gift shop, meaning queues at the service desk are shortened.
“I want people to meet a person first,” Schwebel said. “There’s always someone there and they say hello. It breaks down some barriers and creates an approachable, pleasant first impression.
Although Schwebel is the Milwaukee Art Museum’s first chief experience officer, who took the job in October 2023, he is far from the museum world’s first chief experience officer. While this role is relatively new in arts institutions, it has a longer history than most people realize.
“This is a role that’s probably been around for two decades in the hospitality industry and brands that have a tangible voice in what they do,” he said. “It combines the CMO role and some of the COO roles. It’s all part of driving access and engagement.
In addition to direct personnel involvement, Schwebel also reactivated Calatrava’s complete set of 26 speakers at Windover Hall. He explains that sound can be another source of comfort. “One of the most uncomfortable experiences is when you walk into an environment you don’t recognize and there’s silence. I added music to help you relax.
Not every change Schwebel made at MAM was inspired by Calatrava’s original designs, although each was carefully considered with the visitor’s experience in mind. For example, he relocated the museum’s gift shop from a windowless spot in the hallway to a more prominent spot in Windover Hall, a space that had been used as a conference room.
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The new gift shop is twice the size, spread over two floors, and has a wall of windows that allow visitors to sample the items inside. Calatrava’s “boomerang” display case has been moved to the second floor and now houses artist-made jewelry—the store’s highest-return category. The first floor mainly displays T-shirts, postcards and other brand products.
“Twenty-five years ago, when discussions about new additions first began, I’m not sure there was the same level of understanding of the importance of retail in cultural institutions,” Schwebel said. “My guess is that if Calatrava had the same mission today, the store would be where it is now.”
Although Schwebel has extensive professional experience in the engagement sector (including work experience in the food and beverage industry, retail and hospitality, music and entertainment), he still enjoys being hands-on. He often works shifts as a greeter to stay connected with the MAM audience. “It’s a good way to know who’s coming to see you,” he said.
